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Toccata Classics TOCC0204 Notes
TOCCATA André CLASSICS TCHAIKOWSKY Volume One: Music for Piano Piano Concerto, Op. 4 Inventions, Op. 2 Sonata for Piano Maciej Grzybowski, piano P Vienna Symphony Orchestra Paul Daniel, conductor Jakob Fichert, piano Nico de Villiers, piano INCLUDES FIRST RECORDINGS ANDRÉ TCHAIKOWSKY: A LIFE WITH THE PIANO by Anastasia Belina-Johnson André Tchaikowsky was born on 1 November 1935, in Warsaw, and named Robert Andrzej Krauthammer. His parents separated, after a short marriage, before he was born, and he was brought up by his mother Felicja and grandmother Celina. As a child, the young Krauthammer was energetic and talkative; he absorbed languages and ideas at lightning speed, and enjoyed the attention of adults. By the age of three-and-a-half, he could read in Polish, German and Russian, and at the age of four his mother began to teach him piano. He was fascinated by the idea that one could read music in the same way as one reads written words, and his mother showed him the relationship between printed notes and piano keys. His grandmother immediately began to plan for his future, announcing that he would become the best and most famous pianist in the world. Just over a month before his fourth birthday, at the end of September 1939, the invading Germans occupied Warsaw. The Jews living there were ordered to relocate into a single neighbourhood in the centre, which was sealed by a wall in November 1940. When Celina’s apartment was enclosed into the ghetto area, she defiantly moved out, claiming to be a Christian, while Felicja decided to remain with her son. -
Missing a Beat
Missing a Beat Bridging Ireland's Orchestral Gaps A Review of Orchestral Provision in Ireland Review of Orchestral Provision in Ireland 1 Introductory note from The Arts Council/An Chomhairle Ealaíon This note introduces the Report 'Missing a Beat: bridging Ireland's orchestral gaps', from the perspective of the Arts Council. In response to feedback gathered during a major consultation process (2005), in the resulting document, Partnership for the Arts, the Arts Council undertook to “examine national orchestral needs and develop appropriate responses”1. This led to commissioning a review of orchestral provision in late 2007. Much of the primary research was undertaken during 2008 and 2009. The resulting report 'Missing a Beat, Bridging Ireland's Orchestral Gaps' written by Fergus Sheil, was finalised in November 2010. A postscript to the original report was written by the author in May 2012, in order to reflect developments since the original report was completed. This postscript is now appended to the original document. The report offers an overview and analysis of issues affecting orchestral provision in Ireland. It draws upon a wide range of examples of international practice to illustrate what it regards as 'gaps' and to highlight the potential that may exist for development within Ireland. Beyond its usefulness as an important reference document, the report has the potential to stimulate both further dialogue and practical cooperation amongst a broad range of stakeholders within the music sector. In this regard, the report itself notes and anticipates the need for the music sector to develop new models of practice. Embracing such an approach may prove to be essential in terms of ensuring the longer term development and sustainability of orchestral music provision in Ireland. -
Sacred Music Volume 103 Number 1
Mission site, St. Augustine, Florida CHURCH MUSIC SINCE VATICAN II It is impossible to consider the future of Catholic church music without an understanding of the reasons for the recent reform and the situation which caused it. At one time the Church was the main influence on the development of music; she employed musicians on a large scale and inspired many great com posers. Today this has changed and musical patronage is largely the concern of the state and the broadcasting and recording companies. Inevitably, this has made the practice of liturgical music a bleak and uninviting task for most profes sional musicians. When one recalls the great Catholic composers of the past Palestrina, Byrd, Victoria, Dufay, Josquin-and also the great secular composers who wrote for the liturgy-Monteverdi, Mozart and Haydn-one can see the decline that has taken place. Immediately before the II Vatican Council contemporary Catholic music was largely uninspired and provoked little interest. Even the potential of a Catholic composer such as Elgar was left unexplored. The output of our musicians was slight in comparison with the period of the renaissance and it seemed that little MA WBY: CHURCH MUSIC 3 could be done to remedy the situation. The general standard of Catholic choirs was low. There were exceptions, but one can well remember when the Sunday sung Mass was usually avoided by most Catholics. Church music had to be endured and it had ceased to have any real contact with the ordinary Catholic. Music, whose main purpose is the communication of beauty, had by and large ceased to communicate. -
Honor Choirs! Pre-Conference [email protected] - Website: Europacantatjunior
INTERNATIONAL CHORAL BULLETIN ISSN - 0896-0968 Volume XXXIX, Number 3 ICB 3rd Quarter, 2020 - English DOSSIER Composer’s Corner: BASIC COGNITIVE PROCESSES Choral Music is an Expression of our IN CONDUCTING Souls and our Social Togetherness Interview with John Rutter INTERNATIONAL CHORAL BULLETIN CONTENTS 3rd Quarter 2020 - Volume XXXIX, Number 3 COVER John Rutter 1 MESSAGE FROM THE PRESIDENT Emily Kuo Vong DESIGN & CONTENT COPYRIGHT © International Federation DOSSIER for Choral Music 3 BASIC COGNITIVE PROCESSES IN CONDUCTING Theodora Pavlovitch PRINTED BY PixartPrinting.it, Italy IFCM NEWS 13 IFCM AND THE QATAR NATIONAL CHORAL ASSOCIATION WORKING ON SUBMITTING MATERIAL THE WORLD SYMPOSIUM ON CHORAL MUSIC 2023/2024 When submitting documents to be IFCM Press Release considered for publication, please provide articles by Email or through the CHORAL WORLD NEWS ICB Webpage: 15 REMEMBERING COLIN MAWBY http://icb.ifcm.net/en_US/ Aurelio Porfiri proposeanarticle/. The following 18 CHOIRS AND CORONA VIRUS ... THE DAY AFTER electronic file formats are accepted: Aurelio Porfiri Text, RTF or Microsoft Word (version 97 21 CHATTING WITH ANTON ARMSTRONG or higher). Images must be in GIF, EPS, A PROUD MEMBER OF THE INTERNATIONAL FEDERATION FOR CHORAL TIFF or JPEG format and be at least MUSIC FOR MORE THAN 30 YEARS 300dpi. Articles may be submitted in one Andrea Angelini or more of these languages: English, French, German, Spanish. IMPOSSIBLE INTERVIEWS 27 THE TRUE HISTORY OF THE VESPERS OF THE BLESSED VIRGIN REPRINTS BY ALESSANDRO GRANDI Articles may be reproduced for non Andrea Angelini commercial purposes once permission has been granted by the managing editor CHORAL TECHNIQUE and the author. -
Toccata Classics TOCC0242 Notes
Americas, and from further aield: basically, if it’s good music and it hasn’t yet been recorded, JOHN KINSELLA, IRISH SYMPHONIST by Séamas da Barra John Kinsella was born in Dublin on 8 April 1932. His early studies at the Dublin College of Music were devoted to the viola as well as to harmony and counterpoint, but he is essentially self-taught as a composer. He started writing music as a teenager and although he initially adopted a straightforward, even conventional, tonal idiom, he began to take a serious interest in the compositional techniques of the European avant-garde from the early 1960s. He embraced serialism in particular as a liberating influence on his creative imagination, and he produced a substantial body of work during this period that quickly established him in Ireland as one of the most interesting younger figures of the day. In 1968 Kinsella was appointed Senior Assistant in the music department of Raidió Teilefís Éireann (RTÉ), the Irish national broadcasting authority, a position that allowed him to become widely acquainted with the latest developments in contemporary music, particularly through the International Rostrum of Composers organised under the auspices of UNESCO. But much of what he heard at these events began to strike him as dispiritingly similar in content, and he was increasingly persuaded that for many of his contemporaries conformity with current trends had become more P important than a desire to create out of inner conviction. As he found himself growing disillusioned with the avant-garde, his attitude to his own work began to change and he came to question the artistic validity of much of what he had written. -
Schubert and Liszt SIMONE YOUNG’S VISIONS of VIENNA
Schubert and Liszt SIMONE YOUNG’S VISIONS OF VIENNA 21 – 24 AUGUST SYDNEY OPERA HOUSE CONCERT DIARY NEW SEASON AUGUST Beethoven and Brahms Cocktail Hour Fri 23 Aug, 6pm BEETHOVEN String Quartet in E minor, Sat 24 Aug, 6pm Op.59 No.2 (Razumovsky No.2) Sydney Opera House, BRAHMS String Quintet No.2 Utzon Room Musicians of the Sydney Symphony Orchestra Abercrombie & Kent Shostakovich Symphony No.4 Masters Series JAMES EHNES PLAYS KHACHATURIAN Wed 28 Aug, 8pm KHACHATURIAN Violin Concerto Fri 30 Aug, 8pm SHOSTAKOVICH Symphony No.4 Sat 31 Aug, 8pm Sydney Opera House Mark Wigglesworth conductor James Ehnes violin SEPTEMBER Geoffrey Lancaster in Recital Mon 2 Sep, 7pm City Recital Hall MOZART ON THE FORTEPIANO MOZART Piano Sonata in B flat, K570 MOZART Piano Sonata in E flat, K282 MOZART Rondo in A minor, K511 MOZART Piano Sonata in B flat, K333 Geoffrey Lancaster fortepiano Music from Swan Lake Wed 4 Sep, 7pm Thu 5 Sep, 7pm BEAUTY AND MAGIC Concourse Concert Hall, ROSSINI The Thieving Magpie: Overture Chatswood RAVEL Mother Goose: Suite TCHAIKOVSKY Swan Lake: Suite Umberto Clerici conductor Star Wars: The Force Awakens Sydney Symphony Presents Thu 12 Sep, 8pm in Concert Fri 13 Sep, 8pm Watch Wednesdays 8.30pm Set 30 years after the defeat of the Empire, Sat 14 Sep, 2pm this instalment of the Star Wars saga sees original Sat 14 Sep, 8pm or catch up On Demand cast members Carrie Fisher, Mark Hamill and Sydney Opera House Harrison Ford reunited on the big-screen, with the Orchestra playing live to film. -
THE NETWORK RSCM Events in Your Local Area March – July 2018 Welcome
THE NETWORK RSCM events in your local area March – July 2018 Welcome THE ROYAL SCHOOL OF The usual spread of well-loved CHURCH MUSIC choral events beckons for Registered Charity No. 312828 Company Registration No. Passiontide, and in many cases 00250031 will provide singers with an 19 The Close, Salisbury SP1 2EB opportunity to participate in the T 01722 424848 sort of devotional gatherings F 01722 424849 E [email protected] which are only really feasible W www.rscm.com (musically) with the large Front cover photo: image numbers who convene for them. Additionally, the range of copyright Ash Mills Photography. tuition from Plainsong Services to Music Group days offers Used by permission. a good selection of support for those who lead worship The Network editor: through music in many different forms. The three streams Stefan Putigny of RSCM education – Choral, Congregational/Instrumental, Printed in Wales by and Ministerial - are well represented here. Stephens & George Ltd There is a phenomenon known as “an RSCM church”. Please note that the deadline They are not numerous enough! Would you dare invite for submissions to the next edition of The Network is a friend from another church to attend an RSCM event 1 April 2018. with you and catch the bug? I hope you will. There is not much point in waiting for anyone else to do so, and RSCM remains too well-kept a secret in many places. We stand ABOUT THE RSCM for high standards of commitment, service, and integrity The RSCM is a charity of offering. In the process we have great joy, and usually committed particularly to not a little angst in getting there. -
MUSIK NACHRICHTEN AUS I PRAG
^^^m £//- OöZ MUSIK NACHRICHTEN AUS i PRAG GRUNDPROBLEME DER KUNSTLERISCHEN UND VOR ALLEM DER KONZERTTÄTIGKEIT #\i DER CSSR Vor kurzem berichteten wir in den Musiknachrichten aus Prag über einige Erfahrungen aus den soziologi schen Forschungen auf dem Gebiet der Musik. Heute wollen wir über weitere Ergebnisse der Arbeiten auf diesem Gebiet, die in der ganzen Welt immer größeres Interesse erweckten, berichten, die vielleicht auch im internationalen Sinn breitere und allgemeinere Gültigkeit haben, obwohl sie begreiflicherweise von bestimm ten, ganz spezifischen Voraussetzungen des Musiklebens in der Tschechoslowakei ausgehen. In dieser Abhandlung werden wir uns nur mit der quantitativen rung mit der künstlerischen Aktivität. Noch geringer ist dieser Analyse der künstlerischen Tätigkeit befassen, die w!r für Prozentsatz auf dem Gebiet der Konzerttätigkeit, weil, wie wichtig halten und als Ausgangspunkt für in der Anschrift an übrigens auch aus einigen nachfolgenden Angaben hervorgeht, gegebenen Problematik betrachten. Unsere Untersuchungen bei uns die Theatervorstellungen eine dominierende Stellung waren ausschließlich auf Theater, Musik und bildende Kunst einnehmen. gerichtet, das heißt auf öffentliche Theatervorstellungen, Kon Aus der erwähnten Tatsache geht es hervor, daß es bei uns zerte und Kunstausstellungen, ohne Rücksicht auf ihr Niveau immer noch maximale Reserven an Zuschauern und Zuhören auf ihre Organisation oder Einstellung. Aus dem Gesamtkomplex gibt die durch intensive und gut organisierte ästhetische Er der gegenwärtigene Kunstgattungen wurden nur drei - man ziehung den Besuch, eventuell auch die Produktion der künst könnte sagen dis klassischen Sparten mit jahrhundertalter lerischen Einrichtungen wesentlich steigern könnten, und daß Tradition und ausgeprägten Formen herausgegriffen. Nicht die künstlerische Aktivität bei weitem nicht ausreicht, um die entscheidend war dabei, ob es sich um professionelle Künsler Nachfrage zu befriedigen. -
British and Commonwealth Concertos from the Nineteenth Century to the Present
BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Composers I-P JOHN IRELAND (1879-1962) Born in Bowdon, Cheshire. He studied at the Royal College of Music with Stanford and simultaneously worked as a professional organist. He continued his career as an organist after graduation and also held a teaching position at the Royal College. Being also an excellent pianist he composed a lot of solo works for this instrument but in addition to the Piano Concerto he is best known for his for his orchestral pieces, especially the London Overture, and several choral works. Piano Concerto in E flat major (1930) Mark Bebbington (piano)/David Curti/Orchestra of the Swan ( + Bax: Piano Concertino) SOMM 093 (2009) Colin Horsley (piano)/Basil Cameron/Royal Philharmonic Orchestra EMI BRITISH COMPOSERS 352279-2 (2 CDs) (2006) (original LP release: HMV CLP1182) (1958) Eileen Joyce (piano)/Sir Adrian Boult/London Philharmonic Orchestra (rec. 1949) ( + The Forgotten Rite and These Things Shall Be) LONDON PHILHARMONIC ORCHESTRA LPO 0041 (2009) Eileen Joyce (piano)/Leslie Heward/Hallé Orchestra (rec. 1942) ( + Moeran: Symphony in G minor) DUTTON LABORATORIES CDBP 9807 (2011) (original LP release: HMV TREASURY EM290462-3 {2 LPs}) (1985) Piers Lane (piano)/David Lloyd-Jones/Ulster Orchestra ( + Legend and Delius: Piano Concerto) HYPERION CDA67296 (2006) John Lenehan (piano)/John Wilson/Royal Liverpool Philharmonic Orchestra ( + Legend, First Rhapsody, Pastoral, Indian Summer, A Sea Idyll and Three Dances) NAXOS 8572598 (2011) MusicWeb International Updated: August 2020 British & Commonwealth Concertos I-P Eric Parkin (piano)/Sir Adrian Boult/London Philharmonic Orchestra ( + These Things Shall Be, Legend, Satyricon Overture and 2 Symphonic Studies) LYRITA SRCD.241 (2007) (original LP release: LYRITA SRCS.36 (1968) Eric Parkin (piano)/Bryden Thomson/London Philharmonic Orchestra ( + Legend and Mai-Dun) CHANDOS CHAN 8461 (1986) Kathryn Stott (piano)/Sir Andrew Davis/BBC Symphony Orchestra (rec. -
Prompt Payment Quarter 4 2019 Payments Made Within 15 Days
Prompt Payment Quarter 4 2019 Payments made within 15 days Name of Body Number of Payments Value of Payments (€) % of Total Number of Payments Department of Culture, Heritage and the Gaeltacht 3,088 23,064,689.03 82.61% Chester Beatty Library 285 303,771.00 96.61% Ulster Scots Agency 471 592,511.00 99.37% Crawford Gallery 550 270,957.35 100.00% Oifig an Choimisinéara Teanga 66 31,614.37 100.00% Screen Ireland 728 4,246,173.94 98.25% The Heritage Council 667 499,402.00 94.08% National Gallery of Ireland 845 1,274,501.56 83.17% Arts Council 635 1,540,999.00 73.58% National Concert Hall 775 1,168,333.70 93.94% Údarás na Gaeltachta 1,901 4,863,941.92 74.26% Irish Museum of Modern Art 586 1,282,663.00 98.82% Waterways Ireland 1,150 4,384,418.11 68.13% National Museum of Ireland 490 1,295,128.59 64.39% Foras na Gaeilge 526 996,462.25 90.22% National Library of Ireland 517 1,223,018.25 77.63% Payments made within 16 days to 30 days Name of Body Number of Payments Value of Payments (€) % of Total Number of Payments Department of Culture, Heritage and the Gaeltacht 611 1,580,738.36 16.35% Chester Beatty Library 10 2,830.00 3.39% Ulster Scots Agency 3 2,336.00 0.63% Crawford Gallery 0 0.00 0.00% Oifig an Choimisinéara Teanga 0 0.00 0.00% Screen Ireland 4 18,345.25 0.54% The Heritage Council 26 32,019.00 3.67% National Gallery of Ireland 128 192,250.19 12.60% Arts Council 228 510,087.00 26.42% National Concert Hall 50 123,251.46 6.06% Údarás na Gaeltachta 363 529,610.85 14.18% Irish Museum of Modern Art 7 3,467.00 1.18% Waterways Ireland 486 746,231.78 -
CUL Keller Archive Catalogue
HANS KELLER ARCHIVE: working copy A1: Unpublished manuscripts, 1940-49 A1/1: Unpublished manuscripts, 1940-49: independent work This section contains all Keller’s unpublished manuscripts dating from the 1940s, apart from those connected with his collaboration with Margaret Phillips (see A1/2 below). With the exception of one pocket diary from 1938, the Archive contains no material prior to his arrival in Britain at the end of that year. After his release from internment in 1941, Keller divided himself between musical and psychoanalytical studies. As a violinist, he gained the LRAM teacher’s diploma in April 1943, and was relatively active as an orchestral and chamber-music player. As a writer, however, his principal concern in the first half of the decade was not music, but psychoanalysis. Although the majority of the musical writings listed below are undated, those which are probably from this earlier period are all concerned with the psychology of music. Similarly, the short stories, poems and aphorisms show their author’s interest in psychology. Keller’s notes and reading-lists from this period indicate an exhaustive study of Freudian literature and, from his correspondence with Margaret Phillips, it appears that he did have thoughts of becoming a professional analyst. At he beginning of 1946, however, there was a decisive change in the focus of his work, when music began to replace psychology as his principal subject. It is possible that his first (accidental) hearing of Britten’s Peter Grimes played an important part in this change, and Britten’s music is the subject of several early articles. -
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Cantate 17 Our program today features the choirs of Westminster Cathedral in London. Westminster Cathedral is one of the greatest secrets of London; people heading down Victoria Street on the well-trodden route to more famous sites are astonished to come across a piazza opening up the view to an extraordinary facade of towers, balconies and domes. The architecture of Westminster Cathedral certainly sets it apart from other London landmarks, owing more to the Byzantine style of the eastern Roman Empire than the familiar Gothic of their native cathedrals. Its uniqueness is, however, not merely in its external form. Visitors find in Westminster Cathedral a very special place of prayer, a refuge from the busy city, a space to find one's own thoughts. This spiritual atmosphere, shaped through the silence as well as through the music of its celebrated choir, is the chief glory of the Cathedral, and the most extraordinary treasure to be discovered by visitors. Westminster Cathedral Choir is widely considered to be one of the finest choirs in the world. The establishment of a fine choral foundation was part of the original vision of the founder of Westminster Cathedral, Cardinal Herbert Vaughan. Vaughan laid great emphasis on the beauty and integrity of the new Cathedral’s liturgy, and regarded a residential choir school as essential to the realization of his vision. Daily sung Masses and Offices were immediately established when the Cathedral opened in 1903, and have continued without interruption ever since. Today, Westminster Cathedral Choir is the only professional Catholic choir in the world to sing daily Mass and Vespers.